Carolyn Wilson Digital Collections (Lipscomb Univ.)
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The Do/Ti Handouts
Get PDFThe Do/Ti Test handouts were developed to enable students to identify harmonic function quickly and accurately. These handouts equip students with a visual representation of a powerful, time-tested strategy for harmonic dictation: the guide-tone method, first described by Rahn and McKay in 1988. Building on and extending the guide-tone method, the Do/Ti Test can be applied to diatonic harmonies, applied chords, chromatic predominants, sequences, and modulation.
This accompanying document contains the following:
The Do/Ti Test Handouts: An Introduction
Explanations for each handout.
Handout 1: The Do/Ti Test: Major-mode Version
Handout 2: The Do/Ti/Te Test: Minor-mode Version
Handout 3: Extending the Do/Ti Test: Secondary Dominants, Chromatic Predominants, Sequences, and Modulation to Closely Related Key
Practices, Needs, and 21st-Century Concerns in the Undergraduate Music Theory Curriculum as Identified by the Oklahoma Music Theory Roundtable: A Descriptive Study
Get PDFThe primary purpose of this study was to address curricular concerns defined during the open discussion forum of the annual Oklahoma Music Theory Roundtable (OMTR), held at the University of Tulsa in 2011. During the 2012-2013 academic year, the author of this study formulated a panel of experts and created a survey. Instructors’ profiles, practices, curricular needs, and 21st-century concerns were examined using a sample of anonymous postsecondary Oklahoma music theory instructors (N = 27; 35.06%) who are affiliated with the OMTR. Data collection and analysis were conducted, and results were delivered at the 2013 annual OMTR conference held at Oral Roberts University
Backlog 2015
Get PDFThe 2015 Backlog yearbook of Lipscomb University.https://digitalcollections.lipscomb.edu/backlogs/1037/thumbnail.jp
Why We Don’t Teach Meter, and Why We Should
Get PDFThis paper critiques the acute tonality/meter asymmetry in music theory pedagogy. Why are theories of meter ignored in textbooks and curricula? Why does the limited teaching of metric theory recirculate terms and ideas that were introduced around 1700, and were customized to the idiosyncratic metric properties of that era’s music? The paper explores the historical circumstances that led to the asymmetry and anachronism. It advocates for a radical updating and re-positioning of metric theory at the center of the music theory curricula, on two distinct grounds: metric theory applies with relative ease across a geographically and historically broader range of musical cultures, and it leads to more accurate and secure performances of standard classical repertory. An analysis of a familiar, technically easy but metrically complex passage from “FürElise” suggests how musicians can use metric theory to negotiate the difficulties of deceptively “easy” music that even great pianists sometimes botch
Module 2 Exams
Get PDFDescription of Written and Performance exams for Aural Skills 1 at Oberlin Conservatory
Three Leçons in Harmony: A View from the Nineteenth-Century Paris Conservatory
No full textMuch of our practical music theory pedagogy relies upon prescriptions for “left-to-right” functional harmony, such as“move from V to I,” or “move from ii6 to V7.” Such an approach, however, faces familiar limitations when dealing with chromatic harmony: while descriptive models of harmonic tendency and function offer powerful tools for analyzing chromaticism, prescriptive concepts for applied chords, borrowed harmonies, and modal mixture often prove too conceptually dense and unwieldy when relied upon for the practical purpose of composing. Yet this descriptive-prescriptive asymmetry points to another important disjuncture. As a historical matter, nineteenth-century composers ranging from Wagner to Brahms to Fauré did not possess an explicit notion of harmonic syntax, as such a concept was not part of contemporary composition pedagogy. An examination of historical chromatic harmony pedagogy thus prospectively offers us not only insight into how late nineteenth-century composers arrived at writing in such a rich chromatic style with such a notion, but also, and in doing so, may offer us a path around a familiar roadblock in our current theory pedagogy of how to make chromatic harmony more practicable. With these questions in mind, this article examines historical methods for teaching chromatic harmony, considering in particular those found in Émile Durand’s Traité complet d’harmonie théorique et pratique (1881) and the broader French conservatory tradition of harmony pedagogy of which it was a part